The Theme and Variations As Used by Four Important Piano Composers in Four Periods of Music History

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All Master's Theses Master's Theses

1966

The Theme and Variations as Used by Four Important Piano Composers in Four Periods of Music History

James Patrick O'Brien Central Washington University

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Recommended Citation O'Brien, James Patrick, "The Theme and Variations as Used by Four Important Piano Composers in Four Periods of Music History" (1966). All Master's Theses. 573. https://digitalcommons.cwu.edu/etd/573

This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. THE THU1E AND VARIATIONS AS USED BY. FOUR IMPORTANT PIP.NO COMPOSERS IN FOUR PERIODS OF MUSIC HISTORY

A Thesis Presented to the Graduate Faculty

Central W~ington State College

In Partial Fulfillment

cf the Requirements for the Deg~ee !':laster of Education

by James Patrick O'Brien P.ue;us t 1966

-- I _J__ _

CENTRAL WASHINGTON ST ATE COLLEGE DEPARTMENT OF MUSIC GRADUATE RECITAL

JAMES O'BRIEN, Piano

PROGRAM

Organ Prelude in G Minor ------Bach-Siloti

Suite V in E Major ------Handel Air and Doubles

Piano Sonata in A major, K.331 ------Mozart Theme and Variations

"Italian" Concerto Bach Allegro Andante Presto

INTERMISSION

Ill

Piano Sonata in A flat Major, opus 26 ------Beethoven Andante con Variazioni

Piano Sonata No. 3 ------Delio Joio Tema and Variations __ Presto e leggiero Allegro vivo e ritmico

HERTZ RECITAL HALL July 31, 1966 8:15 P.M.

APPROVED FOR THE GRADUATE FACULTY

______Herbert A. Bird, COMMITTEE CHAIRMAN

______Wayne S. Hertz

______Dean Stinson

TABLE OF CONTENTS

CE.APTER PAGE

I. THE PRO ELEM AND DEFINITIONS OF TEPJ,:S "GSED • • • 1 Tne Problem • • • • • • • • • • • • • • • • • l Statement of the problem • • • • • • • • • • 1 Importance of the study • • • • • • • • • • 2

Definitions of Terms Used • • • • • • • • • • 2

Variation •••••.•••••• • • • • • 2

.ornamental variation • • • • • • • • • • 3 Characteristic variation •• • • . . • • • • 3

Small variation • • • • •••• • • • • • • 4

Large variation • • • • • • • • • • • • • • 4

II. REvrm: OF THE LITERATURE • • •••• • • • • • • 5

Br'ief History of the Form • • • • • • • • • • 5

Technique of Variation •••••••• • • • • 8

Releted Classifications of Varintions • • • • 14

III. A::>TALYSIS OF SPECIFIC VARI.L.TIONS • • • • • • • • 16 E.sndel (Air and Doubles from Suite V in E major) ...... 16 Kozart (Theme and variations from

piano sonata in A major, K. 331) . . • • • • 21 Bee:;:-:oven (Andante con Var·iazion5. fron

piano sonata in Ab major, o~us 26) • • • • • 32 Nineteenth Century Variations • • • • • • • • 49

Tvrnntieth Century Variations ••••• • • • • 50 iii

CHAPTER PAGE

Della Joio (Variations fro~ piano sonata #3) • 52

IV. su:;::ARY, CONCLUSIONS, AND RECOM' :::::NDtTIONS • • • 66

Summary and Conell> ions • • • • • • • • • • • 66

Recommendations • • • • • • • • • • • • • • • 67

BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • '/J LIST OF FIGURES FIGURE PAGE 1. Q Haupt .!fil £1E! und Wunden, Excerpt of Chorale #74, Bach • • • • • • • • • • • • • • • 10

2. 0 Haupt .Y£ll ~ und VJunden, Excerpt of

Chorale f/BO 1 Bach • • • • • • • • • • • • • • • 10 3. 0 Haunt ---voll Blut und ,:iunden, Excerpt of Chorale ://89, Bach • • • . • • • • • • • • • • • 11 4. Hune.;arian Play~, Excerpt, Bartok • • • • • • 11 Hungarian Play Tune, Excerpt, Bartok • • . • • • 6. Theme of Variations in E major, Handel • • • • • 18 7. Double One of E major variations, Excerpt, Handel • • • • • • • • • • • • • • • • 19 8. Double Two of E mEjor variations, Excerpt, Handel • • • • • • • • • • • • • • • • 20 9. Double Three of E major variations,

Excerpt, Handel • • • • • • • . . . • • • • • • 20 10. Double Four of E major variations,

Excerpt, Handel • ~ ••••••• • • • • • • • 21 11. Double Five of E major variations,

Excer?t, Handel ••••••••• • • • • • • • 22 12. Theme of A major varistions, E):cerpt, r.iozart • • 25 13. Exa:r.1ple of a Double A)pogiatura, A i:1ajor variations, Mozart • • • • • • • • • • • • • • 25

. 14. Variation One of A major variations, Exc8rpt,

I;:ozsrt • • • • • • • • • • • • • • • • • • • • 26 v

FIGURE PAGE 15. Variation One of A major variations, Excierpt, Moznrt • • • • • • • • • ...... 26 ie. Variation 'I'wo of A major va.ri a ti one,

Excerpt, Ntozart • • • • • • . • • • . . . . • • 27 17. Variation Two of A major variations,

Excerpt, Mozart • • • • • • • • • . • • • • . • 2'7

18. Variation Three of A major vari~! tions,

Excerpt, Mozart • • • • • • • • • . . • • . • • 28 19. Variation Three of A major variations,

Excerpt, Mozart • • • • • • • • • • • • • • • • 28 20. VariD.tion Four of A major variations,

Excerpt, Mozart • • • • • • • • • • • • • • • • 29

21. Vari at inn Five of A major variations 1

Excerpt, Mozart . • • • • • • • • • • • • • • • 30 22. Variation Six of A major vari8tions, Excerpt, Mozart • • • • • • • • • • • • • • • • 31 23. Variat1on Six of A major variations,

Excerpt, Mozart • • • • • • • • • • • • • • • • 31

24. Variation Six of ...~ m::i,J. or variRtiors,

Excerpt, Mozart • • • • • • • • • • • . . . • • 31 25. Theme from Ab variotions, Excer:it, Beethoven . • 35 26. Thet".le from Lb variations, Excerpt, Beethoven • • 36 27. Theme from Ab vori ·ttions, Excer:;:-;;:;, 2:~·:.;ethoven . • 36 28. 'Iheme from Ab variations, Excerpt, Beethoven • • 37 vi FIGURE PAGE 29. Variation One of Ab variations, Excerpt,

Beethoven • • • • • • • • • • ••• • • • • • •

:so. Va~1at1on One of Ab va~1at1ons, Exoerpt, Beethoven • • • • • • • • • • • • • • • • • • . . . 38 31. Variation One of Ab variations, Excerpt,

Beethoven •••••••••••••• • • • • • • 39 32. Variation Two of Ab variBtions, Excerpt,

Beethoven • • • • • • • • • • • • • • • • • • • 39 33. Variation Two of Ab variations, Excerpt,

Beethoven • • • • • • • • • • • • • • • • • • • 40 34. Variation Three of Ab variations, Excerpt,

Beethoven • • • • • • • • • • • • • • • • • 41

35. Variation Three of Ab variations, Excer~t,

Beethoven ••••••••••••• • • • 42 36. Varia.tion Three of Ab variations, Excerl:)t,

Beethoven • • • • • • • • • • • • • • • • • • • • 42 3'/. Vsriation Three of Ab vari1·,_tions, Exce!";;t,

Beethoven • • • • • • • • • • • • • • • • • • • • 43 38. Vari a ti on f'our of Ab variations, Excer·.: t,

Beethoven • • • • • • • • • • • • • • • • • • • • 43 39. Variation Four of Ab v.•,riations, Excerpt,

Beethoven • • • • • • • • • • • • • • • • • 44 40. Variation Pour of ;l·.., \·a.rLt tions, Excerpt,

Beethoven • • • • • • • • • • • • • • • • • • • • 45 vii

FIGURE PAGE

41. Variation Five of Ab vr~riations, Excerpt,

Beethoven • • • • • • • • • • • • • • • • • • • • 46 42. Vnrie. t1on Five of Ab var1a.t1ons, Excerpt,

Beethoven • • • • • • • • • • • • • • • • • • • • 46 43. VeriatL:m Five of Ab VRriations, Excerpt,

Beethoven • • • • • • • • • • • • • . • • • • • • 47 44. Codetta of Variation Five of Ab varintions,

Excerpt, Beethoven • • • • • • . • • • • • • • • 48 45. Codetta of Variation Five of Ab var int ions,

Excerpt, Beethoven • • • • • • • • • • • • • • • 48 46. Theme from piano sonata if3, Excerpt, Del lo Joio • • 52 47. Theme from piano sonata #3, Excerpt, Dello Joio • • 53

48. Theme from piano sonata #3I I Excerpt, Dello Joio • • S4

49. Variation One of piano sonata ~;·'3, Excerpt,

Dello Joio • • • • • • • . • . . • . • . • • • • 55 50. Comparison of Theme and Variation One of ::1iano

sonata f/3, Dello Joio • • • • • • • . • • • • • • 56 51. Variation One of piano sonata /!3, Excerpt,

Dello Jcio • • • • . • • • . • • • . • • • • • • 57 52. Conparison of Theme and Vario.ti on One of piano

sonata ;;'3, Del lo Joio • • • • • • • • • • • • • • 57 53. Variation One of pinno sonata f!3, Excer:)t,

Del lo Joio • • • • • • • • • . • • • • • • • • • 58

54. VariAtion Two of piano SOUP.ta !}3,, , Excer;Jt,

T • Del lo l.I 010 • • • • • • • • • • • . • • • • • • • 58 -;iii FIGURE PAGE 55. Comparison of Theme and Variation Two of piano

sonata #3, Dello Joio • • • • • • • • • • • • • • 59 56. Comparison ot Theme and Variation Two of piano

sonAta #3, Delle Joio • • • • • • • • • • • • • • 59 57. Veriation Two of pi8no sonata #3, Excerpt,.

Delle Joie •• • • • • • • • • . . . • • • • • • • 60 58. Variation Three of piano sonata 1,1:3, Excerpt,

Delle Joio ••• • • • • • • • • • • • • • • • • • 61

59. VariBt5_on Four of piano sonata ~L3, Excerpt,

Dello Joio. • • • • • • • • • • • • • • • • • • • 61 60. Comparison of Them9 and Variation Four of Jiano

sonata #3, Delle Joio • • • • • • • • • • • • • • 62 61. Variation Four of piano sonata //3, Excerpt,

Dello Joio. • • . . . . . • • • • • • • 63

62. Variation Four of ...::iano sonata /!3II , Excernt"- ,

Delle Joio ••• • • • • • • • • • • • • • • • • • 63 63. Varir.i. ti on Pour of piano sonata. f.l3, Excerpt,

Delle Joio ••• • • • • • • • • • • • • • • • 64 64. Variation Five of piano sonata (f3, Excerpt,

Delle Joio ••• • • • • • • • • • • . . . • • • • 65 65. Variation Five of pinno sonata //3, Excerpt,

Delle Joio. • • • • • • • • • • • • • • • • • • • 65 CHAPTER I

THE PRO BLEM AND DEFINITIONS OF TERMS USED

'I'he use of the technique of "theme and va:ri1s.t1ons" has been in the composing repertoire of musicians from the

Renaissance to the Modern Period, although never 0£ prime concern in any one era. The form, or technique, has been a favorite of many composers, each of whom has employed it somewhat differently; at the same time the form has been adapted to the style of each period. In other words, the form has revealed itself in different usages at different times.

I • THE PRO BLEM

Statement of the problem. The intent of this study was to give a brief background and history of the theme and variations in early periods of music history, as well as to analyze more specifically and compare in some depth the use of the form by four composers of later periods, in a key board work of each. Each of the following composers repre sents a different period of music history: (1) Handel, late Baroque; (2) Mozart, Classic; (3) Beethoven, early Romantic; and (4) Norman Dello Joio, Modern. Although the for~ under study has been used in many media of writing, the compositions in this analysis are limited to piano 2 works. There is no inclusion of symphonic, chamber, or vocal variations, nor of works that combine the pimo and an orchestra.

Importance of the study. Because the form "theme and variations" has been a stock device to be treated by composers of ev~ry period, it behooves any musician, whether his primary interest is in composition or in appreciation of the thread of co::ltinuity in music history, to ex:cnine critically this technique. "It has been the medium for some of the most trivial human expression and some of the deepest." (16:336) It is a form which is still strongly with us, and an understanding of it cc.n help one see the countless possibilities of which it is capable, as well as its universal appeal to composer and listener throughout music history. Of all axis ting forms there is none which sho·,.:s such infinite diversity as (from its very nature) does the variation form. It has therefore been im possible to deal with it exhaustively. (15:106)

II. DEPINITIONS OF TEH:IIS USED

Variation. This term is defined by Prout in A1)Plied 1''orms (15:85). "By the word 'Variation' in its musj.cal sense is meant the presentation of the ss~e thought, or series of thoughts, under different as:pects. 11 Generally, this is thought of as an Air with varir.:itions, wh:i.ch may be ·either an independent work or ~part (i.e. movement) of a larger work (15:91). Sometimes, a variation will be only a device or technique within a larger composition, used to prolong or to add interest. Besides a tune or air, varia tion may be a bass, a harmonic progression, a rhythmic pattern or have polyphonic texture (4:670). Within this study, however, tbe definition will be limited to variations which constitute a theme (air) and variations, composed primarily as a movement within a larger work, either a sonata or a suite.

Ornamental variation. This type retains the melody with its underlying harmonic structure, but achieves varia tion by decorating the tune, specifically, with ornaments such as mordents, trills, and various other non-harmonic tones. Ornamental variation generally aims for brilliance and virtuosity (10:95).

Characteristic variation. This type involves theme transformation and metamorphosis, changing and altering both Belody and harmony, but always maintaining a degree of con tact with the theme through some component, such as the rhythm. The modern composers, as well as many of the Romantics, cultivated the variation technique in this sense (10:95). Sometimes this type of va1'i£ition is termed eccentric, while the ornamental typ0 is lcbeled concentric. 4 The concentric would seem to imply a well defined center or theme around which all the variations revolve, never failing to relate to that center, whereas, the eccentric would seem

to ~uggest an occasional shifting from the axis of theme, from variations which can be closely associated with the theme to those whose relation is subtle. These last two ideas are sometimes classified into slightly different terms by other analysts. Because the former terms will be used concurrently in this paper with those which follow, it will be well to cite other names for the same two categories, such as those given by Murphy (13:55).

Small voriation. This type is characterized by a short, well-punctuated theme, with distinct variations which are equally ·as well punctuated. The form of the theme is generally symmetrical. The Classicists employed it most notably.

Large variation. This type has an extended theme in which the cadences are not easily recognizable. There is a comprehensive and subtle treatment in the variations, with few normal punctuations and breaks, but, rather, with con tinuous movement, as in a fantasy. The Ror.rnntics, the post Romantics, and the contemporary composers are more closely identified with this type. CHAPTER II

REVIEW OF RELATED LITERATURE

I. . BRIEF HISTORY OF THE FORM

The principle of variation in music goes back to the time when music was largely vocal, i.e. the chants of the Middle Ages, according to some experts (18:1955). In the era when organum was used extensively, variation was employed in music to make a larger work and to relieve monotony. Morris (12:69) supports this opinion in saying that the contrapuntal devices placed over a plain-song (or a secular song) constituted a type of variation, because the decoration, which preserved the melodic intervals, existed over a melody of long notes, the tenor. The rhythm of the decoration was, of necessity, altered. Leichtentritt {10:96) traces the variation technique back to the Gregorian chant and to the polyphonic music of the Dutch and Italian composers. The secular influence undoubtedly contributed something to variations, in the speculation that folk singers, the troubadours and trouveres, undoubtedly embel lished their tunes with turns and mordants (2:46); dance music is also believed to have been a source (6:103). Whereas the above examples apply more to a technique of variation employed haphazardly and indiscriminately, the 6 use of variation as a form is generally attributed to the English virginal composers, such as Byrd, Bull, and Farnaby (12:70). Actually, the variation form is seen to exist in Spain in the early 16th Century (16:1955). The technique had arisen from vibuela accompaniments for vocal ists. The instrumental accompaniment of strophic songs of the period became too monotonous if it was not varied, so generally, two versions of the accompaniment were used, one simple and one florid, while the vocal line remained the same at all times (21:693). It was an easy step from this to independent variations in which an attempt was made to evolve an idiomatic instrumental style, separate from vocal nrusic. Instrumental music could be extended because varia tions upon the tune provided a convenient unity of structure. These early repetitions, often upon simple dance tunes, amounted to runs, grace notes, and similar ornaments, all variations of an ornamental type, but none-the-less, varia tions (11:178). In fact, the keyboard variations of the period of ten involved no more than moving the theme from the soprano to a lower voice {9: 205). Proponents of the

variation form in Spain in the 16th Cc.:·~tury \':ere notably Antonio de Cabezon (1510-66), termed the Spanish Bach, Alonso de Mudarra, Enriquez de Valderrabano, Diego Pisador, Miguel de Fuenllana, and Venegas de Henestrosa (18:1955). 7 The Enslish virginal school was influenced by the Spanish variationists. Intercourse between the two coun tries existed, and it is known that Cabezon and others accompanied Philip II (1556-98) to England 1n the middle of the 16th Century (18:1955). Spain also influenced Majone and 'Irabaci in Italy as well as Sweelinck in the North. The peak of English variation technique was in the early 17th Century1 as is witnessed by the Fitzwilliam Virginal Eook of 1625 (10:96). These variations, again largely ornamental1 included bass and counter-melody types. It is said that these variations were more on a texture than upon a single tune (1:22). For example, the Byrd variations, in which the emphasis was rr-ore upon the texture than upon the tune, concentrated most definitely upon the harmonic framework. Stock devices for melodic decoration were scales and arpeggios, which increased in complexity, rapidity1 and virtuosity as the work progressed (12:70).

Too 1 variations were frequently paired 1 such as utilizing a sixteenth note figure in the right hand in one variation, then passing the figure to the left hqnd in the subsequent one; some times the drive to complexity was momentarily interrupted by a slower variation (9:260). It shall be seen later that Handel was one of the heirs of this school. The development of the ground bass was lnrgely an English idea; the theme was a harmonic structure over which 8 decorations and embellishments were superimposed. The Passacaglia, which kept the harmonic structure below, and the Chaconne, which allowed the structure to wander to the upper voices, were outgrowths of this concentration upon bass variation and texture (18:1955). This type of varia tion generally reigned supreme during the 150 years of the Baroque era (12:70). During this period, much material for variation was derived from popular or dance tunes. These were later expanded into the dance suites. It is seen that the variation derives from the very early days of instrumental music, and can be traced back to the chants of the Middle Ages; it still holds its own, as it did during the Classic and Romantic periods. This reason is not hard to find, for this form allows great free dom for the " ••• play of the composer's imagination and powers of development.". (2:50) This study will now examine some of these techniques which have and continue to arouse composers imaginations.

II. TECHNIQUE OF VARIATION

Various standard authorities on musical form give different interpretations as to how a theme may be varied. It is important to state these because from them a consensus of the types of techniques can be seen. 9

Macpherson ( 11: 184) iden tL~ies the following types of variations: (1) The melodic type, in which the harmony remains unobansed 1n eaoh auooesa1ve variation while the melo~y 1s decorated with various non-harmonic tones. '.Ibis type, earlier defined as the ornamental type, utilizes runs, trills, arpeg3ios, and register changes to embellish the melody. The variations within the "Air and Doubles" of the 17th and 18th Centuries employed this type; the type also prevailed well into the 19th Century. It is interesting that in the time of Herz (1803-88), Hunten, and Kalkbrenner (1785-1849), this type of variation was commonly referred to as "cheap variations 0 because it could " ••• easily degen erate into a shallow play of sounds, into, brilliant virtuoso pyrotechnics without musicaJ.. substance." (10:97) (2) The harmonic type, in which the melody is kept intact while the harmonization is altered. Pach used this technique in some of his chorales, such as in his harmoni zations of O Haunt ~ Dlut und Vlunden, chorales #74, 80, and 89 (Examples in Figs. 1, 2, and 3). Bartok, too, was fond of this device, as is shown in the two harmonizations within the simple piece, Hungarian Play iune (Figs. 4 and 5). Often, as is evident in these Bach chorales, the logic of the harmony prevents one from aurally perceiving the 10 music as a variation; each seems to be an entity because of i~s innate logic.

----~

FIGURE 1 0 HAUPT VOLL BLUT UND T.nnmEN EXCERPT OF CHORALE #74 BACH

Lt ,

______, ____ y ___ .

FIGURE 2

0 HAUPT VOLL BLUT UND VIUNDEN EXCER:)T OF CHORALE #80 BA.CH

(3) Another melodic type, in which the harmonic structure is kept intact while the melody is completely changed. This type is just the reciprocal of thnt mentioned 11 above., but,, again,, the logic of the melody makes this a difficult technique to actually recognize as a variation.

~··

FIGURE 3

0 HAUPT VOLL BLUT UND WUNDEN - EXCERPT OF CHORALE #89 BACH

------··· - ----·--

FIGURE 4

HUNGARIAN PLAY TUNE EXCERPT - BAR TOK

(4) A character variation,, in which the main features of both the harmony and melody are retained, but in which there is a change in "character" of the theme through tempo 12 and rhythmic alterations. The 19th Century composers were fond of this type because it had so much dramatic potential.

FIGURE 5

HUNGARIAN PLAY TUNE EXCERPT - BAR TOK

Beethoven, in bis Diabelli variations, used waltzes, marches, and various thematic developments to elaborate upon his theme (14:5). 'Ibis type, also termed nlarge" seldom appeared in music before Beethoven, because be reelly capitalized on it and showed its infinite possibil ities. This does not mean that earlier composers had not been aware of the type. Alessandro Pot:;lietti (d. 1683), a Viennese court cembalist, presented his er:ipress with a birthday cor:iposi ti on, a set of variations, in which the nations of the Austrian empire passed in review--Eohemian bagpipe, Dutch flageolet, Polish "Sablschertz, 11 Bavarian Scbalmei, and a Hungarian violin rhapsody (10:97). He, however, ·was an exception for his day, and this lone case 13 of characteristic variations was not pursued by his con temporaries. Included within characteristic variations must be mentioned that this type may involve changing the theme from an upper voioe to the bass, changing registers, contrasting legato and staccato styles, forte and piano dynamics, or sonorous versus thin textures. ( 5) A:n entire departure, in which there is a co:..;1p lete turn from the original sentiment of the theme; the unity is provided by the rhythm. Contemporary composers pref er this type, which often involves only the variation of a motive of the theme or the fragmentation of a rhythm. The result is truly a free development along rhapsodic or fantasia lines (14:6). This type is the most esoteric, for the con necting link need only be in the composer's mind (21:694). The variations may be only superficially linked with the original theme. (6) Contrapuntal variations, which employ canonic or fugal treatment. This type appeared in much of the 17th Century organ music, sometimes as a variation on a cantus firmus or upon a chorale, resulting in a chorale prelude utilizing ostinato sequences, Stimmtausch, or imitation. This type is not often considered a form, but rather as a device used in fugues or fugatos, chaconnes, or passacaglias.

Bach's ~ .2f the Fugue (10:97) has many examples of this type. 14 III. RELATED CLASSIFICATIONS OF VARIATION

Although a list of assorted classifications of varia tions by other theorists may seem redundant, it is of necessity included in an adequate review of related literature. Prout in Applied Forms (15:105) characterizes varia tions according to those which: (1) are mere ornamentation of melody, with profuse use of auxiliary and passing tones, arpeggios, etc; (2) involve harmonic change; and (3) have a change of mode or rhythmic figuration. Morris' classifi cation is similar (12:72-73): (1) Tune may be transferred to another part. (2) Tune may be retained, but the harmonies become richer or are varied. (3) Preservation of melodic outlines, but with altered rhythm, resulting in a greatly elaborated texture. (4) Melody presented in decorative guise.

( 5) 1iiJeaving of characteristic fragments of the melody or rhythm. (6) Fugal treatment of a prominent series of notes. (7) Canonic treatment. (8) Double counterpoint or melodic inversion. (9) Development of a unit or a rhythmic figure. (10) Introduction of independent ficures which really have no traceable relationship to the main theme. 15 All of the techniques cited above may be utilized within a set of variations. Each composer within each period has utilized one or more of these elements specifically in his works. It is to the examination of spec1f1c examples that this study now turns. CHAPTER III

ANALYSIS OF SPECIFIC VARIATIONS

For this study, four sets of var1at1ons, each repre senting a different period and thus a different technique have been chosen for analysis. These are: Handel's Air and Doubles from Suite V in E major; Mozs.rt' s Variations from the Piano Sonata in A major (K. 331); Beethoven's Andante con Variazioni from his piano sonata in Ab major, opus 26; and Norman Delle Joio's Theme and Variations from his 3rd Piano Sonata. All of these are keyboard ve.rintions, written as a movement of a sonata, with the exception of the Handel ian set, which is from a suite.

I. Hk"JDEL

The variations within the instrumental suites of Handel's time were generally referred to as Doubles, and they represent a type in which the harmony reme.ins basically the srune throughout, and in which interest is maintnined by decorating the melody with arpeggios or runs, ever increasing in complexity (11:181). The e.ffect of the variations is one of simplicity runnine to corlplexi ty, al thou[:h this was some times reversed, with the complexity coming at the beginning of the doubles and gradually unfolding and unraveling to a simple air at the end of the set (20:240). The type may be 17 considered either ornamental or small. It is obvious, because only the melody is altered, thut the theme is seldom revealed in a truly new light (1:242); rather, it is clothed 1n a more elaborate garment. In this sense, the variations are considered by some (4:677) to be more of an Italian nature, but by others, to depend for effectiveness " ••• upon the cumulative impression of the whole ••• " rather than upon the theme or any one of the variations (18:1955). The Air and Five Doubles by Handel in his E major Suite for pim o has often been referred to as the "Harmonious Blacksmith," a title not dubbed by Handel. The source of the theme is not exactly known; authorities claim it came from

a French song, ~ Ne ~, of this era, but the source has proven spurious because the song did not appear until 1765.

~ professor of the University of Vienna, Dr. Guido Adler, has surr.iised that Handel borrowed the theme f:r•om Georg Christoph \'Jagenseil (1715-77), which does not really pin point its origin, but at least fixes Handel's source (7:12). The theme (Fig. 6) has a melody written in eighth notes, which is quite compatible with the underlying har mony. The harmony, beginning and reLaining on I of E major until the half cadence of V, is rel2tively simple. The co~plete theme consists of eight measures, and the harmony remains I, never convincingly moving to IV or V, except in a transitory manner. The theme may be thou.cht of as one 18 proloneation of the I chord; the melody certainly supports this idea, be ca.use it is lorgely centered around an "e" in the treble.

-···-· ... ------

FIGURE 6

THEME OF VARIATIONS IN E I/IAJCR HANDEL The first Double maintains identical he..rr.1ony and cadences. The only difference is in the melody, ·:;hi ch now 19 ·involves sixteenth notes, interpolated as extra notes, simi lar to a pedal, between the original notes. The left hand remains basically the same, although there is now a hint of a 001.1.nte:t:'melod7 (F1S• 7).

FIGURE 7 . DOUBLE 01'E OF E MAJOR VARIATIONS EXCERPT HANDEL The second Double passes the sixteenth note action to the left hand in the form of an Alberti bass, with the theme bidden in the alto part of the right hand until the half cadence, at which time it passes back to the soprano (Fig. 8). Doubles One a."'ld Two actually complement one another, each having been written in sixteenth notes, v:ith the activity of

the first in the right hand, followed by a 9arallel activity in the left hand of the second. One has little 2:1eaning

without the other. This pairing of Doubles \'las a legacy of the Virginal School of Byrd (9:260). Pairing is also evident in Doubles Three and Four. The motion has been accelerated to that of triplet sixteenth 20 notes (Fig. 9) 1 first in the right hand in Three 1 and pass ing to the left hand in Four (Fig. 10). As in Double Two, Four has the theme hidden in the alto voice until the half cadence.

FIGURE 8 DOUBLE TWO OF E MAJOR VARIATIONS EXCERPT HANDEL

-r 1 r ,& ;' ~ r

FIGURE 9 • DOUBLE THREE OF E MAJOR Vf'..RIATIONS EXCERPT HP.ND EL

The final Double bas no cor.1pler.i.ent, but rather1 divides the thirty-second note activity equally between the 21 right and left hands (Fig. 11). The harmony remains I

throughout, with the exception of resting temporarily on V at the half-cadence, and. is reinforced by scale-like passages ot E major. Throughout this set, the harmony has retained the feeling of E major, and the motion has been one of increasing complexity, culminating in this tempestuous v2riation. The mood never changes; activity never ceases. In summary, the theme and the ornamentation thereof are all pervading. The success here depends upon the tota1 effect rather than upon any single variation.

=rJe~ t -r ( re· :f:?f --~- '.;Pi) u ' f 1 t r J '" c--r .;r:LJ J® j'1-'A

FIGURE 10 DOUBLE FOUR OF E MAJOR VARIATIONS EXCERPT HANDEL

III. MOZART

Mozart, who composed many sets of variations, both as entities and as a movement within a larger work, regarded variations as unimportant (18:1956). Tovey considers r.:ozart's 22 variations in sonatas.much higher in caliber than those per functory variations which were composed as entities in them selves end used mostly for encores to dazzle concert patrons (20::241).

FIGURE 11

DOUBLE FIVE OF E r.~AJOR VARIATIONS EXCERPT HANDEL The classical composers treated variations in cliches, as they did other elements within their music, such as the cadences and chord progressions; although Mozart did this, his treatment of the cliches was fuller in substance and variety, and he is generally considered great because he did add originality and grace to an age which preferred the established pattern. The formula for V8.riHtions, not unlike Hsndel's, usually involved an increase in the speed of motion, such as quarter notes passing to e:i_r;hths as the variations pr-o:·ressed, but with an abrupt cha.YJ.ge to the other extreme somewhere in the middle of the set, ::iy the advent of 23 a slow variation, which was in turn followed by more ani mated ones (10:104). The theme was all important, the cadences were well defined, and the harmony was stable.

Deoorat1on was the main Oevioe of va~1at1on, or as Morrie states (12:75): ••• the great classical composers adhere pretty closely to bar structure of their theme, but allow themselves a certain license in the matter of harmonic detail, especially in the later variations, when the main outlines of the theme have had time to impress themselves firmly on the listener's mind. Needless to say, many trite variations were written in Mozart's da:y, which have henceforth passed into oblivion. These displayed fiery scale passages and rippling arpeggios, but lacked any substance, such as a meaningful tune, to embroider with such pyrotechnics. The greater men, like Haydn and Mozart, were able to choose a nice tune and then intellectually and subtly transform it into a meaningful piece of art music {11:182). Mozart's variations, in true spirit of the Style Galant, follow a scheme, outlined by Macpherson {11:182). The early variations follow the theme closely; then, there is usually a change to the parallel minor, or to major if the theme is minor, somewhere in the middle of the set. One of the later variations will have a codetta or unbarred cadenza, followed by a final variation in which the original theme is presented in a different meter. If the tune is in 24 4/4, the last variation will be in 6/8 or 2/4. Grove's Diction!_r_I (4:681) describes a similar p1.ittern in Mozart's variations, mentioning also that the melodic type outnumber the barmonio four to one. Mozart's theme in the A major variations has consider able charm of itself. Typically classic, in ~~\BA form, it is separated into four measure phrases. The first four measures end in a half cadence (E-7th chord) and the second four cadence in the tonic A major. The melody, in 6/8 time, in the first eight measures, centers mainly around a pro longed third of the tonic chord, c-sharp, touching upon a neighboring note "b" sequentially in the second measure, but not actually moving to "an until the cadence in measure eight (Fig. 12). The bass provides parallel harmony at an interval of the tenth. The next four measures, of contrast ing material, may be thought of as a B portjon, form-wise, moving to the subdominent pole momentarily, but reaching a cadence with E-7th in measure twelve. The following four measures constitute a return to the A portion of theme, but the advent of two extra measures ( a total of eighteen) delays the cadence from where it is expected in measure six teen, by a double appoggiatura (Fig. 13) which resolves upward on a weak beat, thus hardly creating a strong caden tial feeling until measure eighteen. The theme is united 25 rhythmically by the rhythmic figure, and - its harmonic and phrase structure serve all the variations except the final, number VI.

I ~~·l ~ I-· ft F ~~-r. u -" ~?11 r· j ~ f n

FIGURE 12 THEME OF A MAJOR VARIATIONS EXCERPT MOZART

FIGURE 13

EXMTPLE OF A DC'•UBLE APPOGGIA TURA A MAJOR VARIATIONS MOZART The first variation, also in 6/8, retains the major key, the harmony and the phrases. The variation is actually a very clever embroidering of the theme, with the use of appogciaturas, auxiliaries, and passine tones (Fig. 14). 26

The bass is simplified to an offbeat accompaniment 1 or to octave jumps (Fig. 15). As in the theme 1 the unifying element is a rhythmic figure 1 shown in Fig. 14.

FIGURE 14 VARIATION ONE OF A MAJOR VARIATIONS EXCERPT MOZART

FIGURE 15 VARIATION ONE OF A MLJOR VARIATIONS EXCERPT MOZART The second and fourth variations are considered to be the most pianistic in this set (5:267). The second preserves the melody intact with some decoration in the form of trills (Fig. 16). The change of feeling can be attributed to the 27 triplet figure, actually an Alberti bass (Fig. 17), which gives this variation its pianistic and busy feeling. Like the first variation, II retains the basic harmony, the AABA form, and tee dela7ed oadenoe two measures from the end.

FIGURE 16

VARIATION Tl"lO OF A MAJOR VARIATIONS EXCERPT MOZART

·- •1'7 j P4 rk§ bi# ut C£f-t!1

FIGURE 17 VARIATION TVlO OF A MAJOR VARIATIONS EXCERPT MOZART The third variation makes an abrupt change to A minor, to be played in a slower tempo, but it preserves the I to V relationship; there is a feeling of improvisation, around a "c" natural, first in single notes, and then in octaves in the repeat of the A phrase (Figs. 18 and 19, respectively). 28 The octaves provide a verry glossy effect. The B section resembles the B section of the theme, generally centering around the same notes, and largely preserving the improvis atory quality. The return to A is in single notes, 1mmed1• ately followed by octaves.

8r r ( I d C'!' F 1::-~ ~

FIGURE 18

VARIATION THREE OF A MAJ·'.)R VARIATIONS EXCERPT MOZART

FIGURE 19

VARIATION 'ffiREE OF A MAJOR VARIATIONS EXCERPT MOZART The fourth variation, the most pianistic, explores the extremes of the keyboard. The return to A major is accompanied by the superposition of tbe melody above the treble staff (Fig. 20). A bass note serves to give a sure 29 foundation to the ever stabJa harmony. 1bis contrast of the low and high registers seems to foreshadow the later endeav ors of Beethoven, and more particularly, of Chopin.

r==i'==r ="==\:=(

FIGURE 20 VARIATION FOUR OF A MAJOR VARIATIONS EXCERPT MOZART The fifth variation is an Adagio, a rather dreamy interpretation of the theme, lacy, delicate, ornate, and quite Rococo, with profuse use of escape notes and auxil iaries. The bass is of the Alberti type again, acting as

an accompaniment for the graceful melodic t~e8tment (Fig. 21). The return to the final A portion constitutes an even more elaborate treatment of the theme, thus a variation of the variation; runs and scale figures fill much of the outline of the original theme. The final variation, the sixth, is in 4/4, a common conclusion to the classic type of variation which ended in 30 duple time if the original bad been triple, or vice versa. This is the only variation which does not follow the eight een bar scheme, although the AABA form is preserved. This, 1t should be mentioned, is the most playful of the variations, with its skips and escapes from the theme (Fig. 22). The second A portion is a cascade of broken chords (Fig. 23), whereas the B is scale-like in movement (Fig. 24); the final A is similar to the opening, but passes into a little codetta which delays the final cadence for eight measures. Although this variation is joyful and full of variety, it can clearly be identified with the theme because of the preservation of the melodic outlines.

FIGURE 21

VARIATION FIVE OF A MAJOR VARIATIONS EXCERPT MOZART As a whole, this set depends upon decoration of the theme for variation; never does the harmony drastically change, and only once does the meter change. There is some prediction of the later character changes, with the occasional 31 change of mode, tempo, and meter, but certainly it is mel odic embellishment which reigns supreme here (13:57).

FIGURE 22 VARIATION SIX OF A MAJOR VARIATIONS EXCERPT MOZART

FIGURE 23 VARIATION SIX OF A MAJOR VARIATIONS EXCERPT MOZART

FIGURE 24

VARIATION SIX OF A MAJOR VARIATIONS EXCERPT MOZART 32 III. BEETHOVEN

Beethoven's use and development of the variation is considered by Murphy to be the apogee in variation tech nique. Although " ••• the works of later composers may be more complex in texture ••• tbey are hardly more comprehensive in treatment,i' (13:57) The variation form interested Beethoven only slightly less than did the sonata-allegro form (17:108). His use of the form was more of the large or characteristic type than of the purely ornamental (13:58), but he combined principles of both the old and new, particularly in his early works,

such as the Ab variations, opus 26 (4:682). He exp~nded and modified the variation technique with key changes, double themes, and creative treatment of his themes, but never did he destroy variations per se. One interesting innovation in the opus 34 set, "Six variations on an original theme," involved a change of key on each succeeding variation, down a third each time, from G to Eb to C and A, etc. He never repeated this innovation (nor did any of his disciples), but its mentioning points out the man's infinite creativity (9:97). Beethoven wrote twenty independent sets of variations for the piano, most of which used themes borrowed from tunes

of contemporary operas (9:486); a. few were free-composed. In 33 all, the variAtions involve a transformation, rather than a pure imitation and/or alteration of the theme. The trans formation might be a rhythmic variation, in which the only oonneot1on to the theme 1a the p~1noiple aadent1al punotua tions or a harmonic· or melodic "thread 11 or "germ, 11 continu- ally being developed and presented in different aspects (11:184). But, in any case, Beethoven's variations involve much more than mere melodic decoration, or as Tovey states (19:125): The listener who wishes to understand Beethoven's variations had better begin at once by relieving his conscience of all responsibility for tracing the melody. The variations in the Sonata for piano in Ab major, opus 26, are not mature Beethoven; rather, they are transi tional, and like the Sonata in G, opus 14, #2, the emphasis is not entirely upon other than decorative variations. Beethoven's use of the variation form as a first movement was not an innovation in a general sense, but it was an innovation for him (3:90). Opus 26 was Beethoven's first nineteenth Century piano sonata; the variations in the first r;;ovement are hardly of the fantasia type of his later works, such as the Diabelli set, but certainly ••• the pianistic foliage, so to speak, that over grows this scaffolding has become noticeably richer snd juicier th11n anything we know in eighteenth-century variations (3:90). 34 These variations are pianistic, a quality attribut able to the improved technical resources available to the composer as well as to the changes in the piano's design · around the turn of the nineteenth century. The opening movement of Sonata ://12 in Ab major, opus 26, termed Andante con Va.riazion1, 'consists of a theme and five variations. The theme is built on thirty-two measures, quite neatly divided into four eight measure periods, in an A.ABA form. The opening two phrases are each an antecedent and consequent, cadencing on the dominant in measure four and on the tonic in eight. The theme beeins on Eb, moving up to Ab, and remaining very much around this note {Fig. 25), landing momentarily on a neighboring Bb at the half cadence. The bass movement is smooth with the passing use of V6/4 between I and I6, as well as in the use of the secondary dominants. The use of these chords and the German sixths adds a richness lacking in Mozart's and Handel's variations. The end of the first eight measures is not final, because the approach to V is on an unaccented beat (Fig. 26). The repeat of the A phrase is very similar, both mel odically and harmonically, with a more persistent use of the

Ab (Fig. 27) than at the beginning, as well ns \'lit h a full cadence at the end of the second eight measures, thus bring ing the first two A sections to a close. 35 The B section, in contrast, involves a change to the supertonic, with a sequence following in the tonic, then a third sequence following which combines both (Fig. 28), with the melody and harmony transferred to the octaves in the right hand instead of thirds, and with freer chord jumps, such as substitutes for I, i.e. III and VI and their domin ants. The middle B section is terminated by a cadence lead ing back to I of Ab and a repetition of the second A section.

FIGURE 25 THEME FROM Ab VARIATIONS EXCERPT BEETHOVEN Variation one follows the original theme very closely, but is quite pianistic in spreading the notes over a wider range than in the theme (Fig. 29). 'l.'his dispersion of the theme, with interpolated notes, gives the A sections of this variation a surging, upward motion, with a subsequent release, or falling movement. The harmony and phrasing are the same as in the theme. The B section has a melody accompanied in thirds like the theme, but wj_th a very active bass part 36 (Fig. 30) and with octave jUm.ps in the right hand where the theme had only octaves (Fig. 31); it is sequential as in the theme. The return to A is similar to the first A of the variation.

FIGURE 26

THEME FROM Ab VARIATIONS EXCERPT BEETHOVEN

1 ~i---.U-~~ ~k~' $ ~fj-l--1-1 _-4--,1 #-1---'-- 1__._IJ~J J:=f~S J· j I· . . . ' I I

FIGURE 27

THEME FROM Ab VARIATIONS EXCERPT BEETHOVEN The second varii::ition incorporates the theme in the bass with syncopated right-hand chords and octnves (Fig. 32).

' The B section continues this pattern, h~t the thirds in the right hand of Figs. 28 or 30 have become bass note broken 37 tenths (Fig, 33), while the right h~nd accompaniment is chromatic. This variation, as in Variation I, follows the form, cadences, and harmony of the original.

FIGURE 28 THEME FROM Ab VARIATIONS EXCERPT BEETHOVEN 38

The third variation marks the middle point of the set, and it appears as if Beethoven goes farther astray from the original theme than in any of the others. Unlike Handel's variations, where the involvement and complexity continue to the finish, Beethoven's variations reach a

---- ..• ···------·------·--·------.

FIGURE 29 VARIATION ONE OF Ab VARIATIONS EXCERPT BEETHOVEN

FIGURE 30. VARIATION ONE OF Ab VARIATIONS EXCERPT BEETHOVEN 39 climax in the middle of the set and then return closer to the theme in the succeeding variations. The orbit seems elliptical, and this variation is the furthest point before

the return to the o~1g1nal.

FIGURE 31 VARIATION ONE OF Ab VARIATIONS EXCERPT BEETHOVEN

~~~I=.~~t-=~~~~:;:ul~~:=:;~~~f2-t:l-;~~;j\ I

FIGURE 32 VARIATION TVIO OF Ab VARIATIONS EXCERPT BEETHOVEN 40 The variation is in the parallel minor key (Ab minor). The first few notes make the thematic rise from Eb to Ab, and the melody seems to be following its original course in the minor qual1tf, until the fourth measure where the domin ant chord, which has previously punctuated the phrase, is expected. Beethoven, however, changes the melody, making it rise stepwise to the higher Eb (Fig. 34) instead of falling back to Ab. The harmony, also changed, as shown from the same example, becomes exceedingly more exotic. The reiter- • ation of the A section parallels the first phrase harmoni cally. Variation is afforded by a bass-chord-chord accompaniment in the left hand, vdth the right hand now in octaves.

------:2:~bt~§ tt @!fir" f e f c JI t f rsf ./.

FIGURE 33

VARIATION T1tJO OF Ab VARIATIONS EXCERPT BEETHOVEN

The section in B employs sequential material in the harmony of V to IV to IV, repeated in V of I of Ab (Fig. 35), with the melody hidden in the inner voice, and then proceeds to harmony centered around the dominimt, that is, V of V 41 resolving to V, V of V resolving to III, and V of V finally going firmly to V, which then returns to I (Fig. 36). The prevailing rhythm of the B section, as well as of the A sec tions, 1s SJTlOopated and always gives the feeling ot delayed resolution (Fig. 37). The return to A is similar to the opening of this variation, except the melody is given in octaves.

~ ~ ...... """'""' - ~ . ... . ,, , ,,, ., ,,, oY ,. '-" YI ,. • ...... • \'I -, lo ,. -• I I I I I I -~ -· ., \I \. " l I l I I I I I I ' . II u n I ... ~ ~

I I . I I I I I I ' "' II 7 ~ I _, Al ,, ., ~- I U .., ..1 -1 -,, ... l'J r. I ,. i ·w·1 •.1 ... , Lo 61 t " .. . ;.. n ...... ~ ., " • "

FIGURE 34 VARIATION THREE OF Ab VARIATIONS EXCERPT BEETHOVEN

The fourth variation returns to Ab major in a bouncy display of pianistic technique which sp [lees the theme over 42 much of the keyboard. The theme is identified by its char acteristic rise of Eb to Ab; it then jumps up an octave to

Ab before resolving to G,· thus setting a pattern of a rising

a..~:

FIGURE 35 VARIATION THREE OF Ab VARIATIONS EXCERPT BEETHOVEN

FIGURE 36 VARIATION THREE OF Ab VARIATIONS EXCERPT BEETHOVEN 43 and falling of octave leaps with a delayed resolution in the melody. The bass follows the same plan (Fig. 38), and the harmony is generally the s'ame as in the theme. The repeti tion ot A 11 11m11ar, w1th the melod7 now 1n octaves; there is a tightening of the accompanying rhythm in the left hand

1\- _,_ ' I . -1- .~ .. • .,..... ,...... I.I .. - .. r If) _..,"' I. I~ ~ Ill A ,., I J y·- » I. I -rr ...... I ., , '"' r "' 12 II' • .. :, 'Ill ~ - , .,.'- 7 ~ I I ---- ~ . ---= I A -- ~ I I,.,. f . I... 7T I . ., I' • I Loi ,.. ,... . M ,,, .. .. I • .. - .. ., ,_ A ... r -I - l:fl

FIGURE 37

VARIATION TlffiEE OF Ab VARIATIONS EXCERPT BEETHOVEN

FIGURE 38 VARIATION FOUR OF Ab VARIATIONS EXCERPT BEETHOVEN 44 (Fig. 39). The B section continues the delayed resolution with a harmonic framework which goes farther astray than any other previous B sections. There is use of chords for color and to erase any key feeling (Fig. 40). The auper tonio moves to V, which returns to I, then to a VI with a raised third which really acts like a dominant of II; this returns to V at the end of the section. The reiteration of A is similar to Fig. 39.

FIGURE 39 VARIATION FOUR OF Ab VARIATIONS EXCERPT BEETHOVEN

The final variation returns closer to the theme. As was previously mentioned, unlike the Handelian variations, Beethoven's wander from the theme elliptically and then proceed back. This variation marks the point in which the orbit is closest to the theme. The triplet sixteenth note figure outlines the original theme (noted in arrows, Fig. 41). 45 The initial harmony is the same as in the theme, I to V6/4 to I6. The repetition of A is accomplished with the tune

t __ ., I ~1-.,..._L -'- ·~: _\ ~ ~ -f:. , ·- -i- ~~lJ Ill ''"' ,. J I r 7 A ...... I• -.... A I T"\ .... \... I V .-J - -- -· A , I '- "' , ...... ti' l'I I ,.,.. r ,_ .. , 111 ~ -- "' la' ... •-:. ' I I.I II ,o ,- ,, g ~ ' r • - -. ' - ~ - " I ... 1-4 ~ =:. '1 ~7.... .7 ~- ~;;- - > i ... '-.~ -~ i? ~ i..~~ :r ,-.,, -J;. t. '): ., ,_ I . I c - 'JI ""'-- ••• 1/.1 1. _, I ..., ~- r >rf I u .- ~ "'7 - ..... I ( DI; , ..,,, , "'Ir . ·- I I I ... . v ~ - ··-- ...... -' • - .. : ~ - 7'T" =:.. i

FIGURE 40 VARIATION FOUR OF Ab VARIATIONS EXCERPT BEETHOVEN 46 somewhat hidden under or between the thirty-second note aot1- vi ty, but it is still closely recognizabla as the tune (Fig. 42). The B section disguises the original melody in

FIGURE 41 VARIATION FIVE OF Ab VARIATIONS EXCERPT BEETHOVEN

FIGURE 42 VARIATION FIVE OF Ab VARIATIONS EXCERPT BEETHOVEN 47 the left hand while the right hand makes a jump for freedom twice, but falls back each time (Fig. 43). The sequence of V to II to II is preserved; the rest of B is very similar harmonically to the theme.

FIGURE 43 VARIATION FIVE OF Ab VARIATIONS EXCERPT BEETHOVEN

The return to A, parallel to tho other yariations, is very similar to the second A phrase, with the melody in an inner voice, accompanied by thirty-second notes. A coda of fifteen measures concludes this set of variations; it comes as somewhat of a surprise in context of the music, but certainly not as a surprise, historically, because Mozart was fond of concluding a set of variations with a codetta. The melody within the coda is not new; rather, it derives from the melody as is shown in a compari son of the two in Fig. 44. Beethoven immediately decorates this telescoped variation of the theme {Fig. 45), after 48 which, vacillation between V and I is prolonged eight measures before the set is completed.

FIGURE 44 CODETTA OF VARIATION FIVE OF Ab VARIATIONS EXCERPT BEETHOVEN

FIGURE 45 CODETTA OF VARIATION FIVE OF Ab VARIATIONS EXCERPT BEETHOVEN

It should be pointed out that opus 26, while showing Beethoven's ingenuity in altering and disguising the therae through means other than pure decoration, is more prophetic than typical of later Beethoven. He reached the highest power with variations in bis symphonies. His later variations, 49 in fact, such as the Diabelli set, became prototypes for the Romantics, such as Schumann's Symphonic Etudes and Brahms'

Variations .2!! ~ Theme £1. Handel (9:486). Opus 26 shows the ·tendency to transformation, but hardly escapes the tech niques of Mozart; it should best be placed in a transitional classification.

IV. NINETEENTH CENTURY VARIATIONS

Murphy believes that Beethoven was the apex of the variation form, and that everything which came before, led to him, and everything since then has been only an elabor ation or extension of his ideas. An eRrlier quote appropri ately should be reiterated here. "The works of later composers may be more complex in texture, but they are hardly more comprehensive in treatment." (13:57) Actually, the Romantics developed the idea of theme and variations very little; all they added was personality and expressive feeling (11:184). Often, the Romantic variations approach more of a fantasia because the variations are frequently not separated, but run together ad infinitum (1:30). The two types of variations of this century stem from Beethoven: (1) The Franckian type, which transforms the whole, not the individual parts, developed from the Haydn Beethoven concept of a symphonic treatment of the theme; and (2) the Brabmsian type, transmitted through Schumann, 50 which stressed the individual variations more than the compo sition as a whole. Murphy believes (13:57) that Brahms was the last great composer of variations, a lineage which began with Baob. 'lb11 11 bardlJ true, because Brahma' rbythm1o invention is certainly a bridge leading to the twentieth century type.

V. TNENTIETH CENTURY VARIATIONS

It would appear that the technique of twentieth century variation is neither purely that of the ornamental type of Handel and Mozart, nor of the characteristic type of Beethoven. The new type is really a synthesis and may be based upon any one element of music, or a combination, such as melodic inflection, harmonic weight, or rhythmic generation. Eschmann tells of the techniques of twentieth century variation in Changing Forms in Modern Music, mention ing that almost nothing is rul~d out as long AS some degree of integration is maintained (8:119). An example would be to alter the characteristic melody and harmony of "Dixie~" but to maintain the characteristic rhythm, an integration with the original which would be much more recognizable than would rhythmic mutation with retention of the melodic intervals. The contemporaries become so esoteric in their use of variations that it is often impossible to detect the tune, 51 or as Bairstow (2:46) so aptly states it: " ••• the tune ••• is only the oonstruotional element, like the steel girders in a modern building." More commonly, the rhythm or a rhrtbm1o motive or fragment may be the only element which integrates a variation, and in extreme cases, just the punctuation of the theme is enough to unify a set of varia tions (8sl12). As a commentary, 'it is interesting to note that: Modern psychologists state, as a result of experi mentation, that the content of a return carries less weight in the verdict than the rhythm of a return. (8:118) Some of the notable variations of this century have been Vaughn William's Fantasia _2.!! !. Theme£!. Tallis,

Dobnanyi'a Variations .2!! ~ Nursery Song, and Rachmaninoff's Rhapsody .2!! !. Theme s:t_ Paganini. Max Reger, an avid exponent of twentieth century variation, often uses a final fugue on a subject derived from the variation theme; Vincent D1 Indy (in Istur) has made use of variations which begin complicated and progress to those which are more perspicu ous, until a unison theme sounds at the end, an unraveling process not unlike the inverted order used by some Baroque composers (10:322). The resources are so vast, one can hardly generalize. This study will show what one composer has done in a set of variations for piano. 52 VI. NORMAN DELLO JOIO

The variations by Dello Joio come from his third piano sonata (1948) and constitute the first movement. The theme is a simple tune of four and one-half measures, co~terpo1nted in the second measure (Fig. 46) with inter vals which derive from the melody. The keynotes of this tune are a rise from G to D to G above this, and then down.

FIGURE 46 THE:rtE FROM PIANO SONATA #3 EXCERPT DELLO JOIO Immediately after the melody is presented, it is stated again, conunencing on the third count of the measure instead of the first, with a thicker, spicier accompaniment (Fig. 47). The harmony can be analyzed as I, IV, and V chords with addi tional tones added triadically on top, such as sevenths, ninths, and elevenths. For example, in Fig. 47, the first chord is really a I missing the root and seventh, but includ ing a ninth and thirteenth; on the second beat of the same 53 measure, the root and seventh are added, so between the two chords, the ear perceives a chord triadically built through the thirteenth. On the third count, the chord is basically IV, with the fifth missing, but with a major seventh end ninth added. Tbis moves on the fourth count to a passing V6/4 chord, missing the third and fifth, but exhibiting a minor seventh and eleventh. This little progression moves back to I (with a major seventh) on the first beat of the next measure, and so on the progressions go. Of course, these chords may be analyzed differently, and perhaps it is aasinine to attempt to analyze them as triads, but they do .function as I, IV, end V chords, so the approach is justi fiable.

FIGURE 47

TH:E)m FROM PIANO SONATA ://3 EXCERPT DELLO JOIO 54 After the theme is repeated with chordal accompaniment, the melody in the right hand carries on a small dialogue with the left hand for the remaining measures (Fig. 48).

FIGURE 48

TH:Ell~E FROM PIANO SONATA #3 EXCERPT DELLO JOIO The right hand again emphasizes the intervals between D and

G; there are fragments of the melody employed, as can be seen from the similarities of measure two of Fig. 46 and measure two of Fig, 47. The last three measures (Fig. 48) emphasize contrary motion, what with the rising fourths in the right hand and the descent to G in the left. The last two chords hardly establish a V to I cadence, because the final chord is unstable, though colorful, with its added major seventh and ninth. The cadential feeling is achieved more by the descent of the bass notes to a G. Variation one is characterized by two distinct rhythms, operating concurrently, but often switching hands 55 or registers. 'I'bese rhythms, both in 3/8, are: ( 1) · J=: . ¥' .. }=; tot ; and ( 2 ) _;:)_)_ • Placed one against the other, the rhythms result in a sprightly varia tion which is full of syncopation and which is widely spaced over the entire keyboard {Fig. 49). The intervals of this variation can be seen to derive from intervals of the theme, particularly those involving the G-D-G intervals (Fig• 50).

FIGURE 49 VARIATION ONE OF PIANO SONATA #3 EXCERPT DELLO JOIO This variation is neatly punctuated into eight measure units, the first and second groups being practically identical. The fragmentation of the original melody is equally divided between the right and left hands. At the seventeenth measure, a stretto section of four measures begins, which intensifies the rhythm (Fig. 51) and which exhibits the contrary motion of the theme. This is certainly the cllmax 56 of the variation, after which is seen a reiteration of the two rhythms, the marcato bass deriving from intervals of the third measure of Fig. 48 (Fig. 52), only with wider spacing this time. The variation ends on a G major chord, approached by a Neapolitan 6th (Fig. 53).

FIGURE 50 COMPARISON OF THEME AND VARIATION ONE OF PIANO SONATA #3 DELLO JOIO Variation two begins in 6/8 rhythm, with some mildly

dissonant chords setting the mood, first R G major, then a

combination -of G, Fl,i, and Eb, a chord with G, D, and F, and finally a G, F#, and Dlf combination. Tb:i s creates an os tin ato (which is transposed to create a sequence) before the melody enters. V,Ihen the melody enters in the third measure (Fig. 54) in the left hand, it follows the same melodic intervals of the theme, but reaches up to a G in the fourth measure, where an E-natural is expected, and then falls down 57 to an unexpected Eb and rests on D; the next two measures follow the theme. In fact, the similarity can be seen in

FIGURE 51 VARIATION ONE OF PIANO SONATA #3 EXCERPT DELLO JOIO

FIGURE 52 COMPARISON OF THEME AND VARIATION ONE OF PIANO SONATA #3 DELLO JOIO 58

Fig. 55. The next four measures duplicate the four shown in Fig. 54. The following eight measures carry on a dia logue simil~ to that in the theme (Fig. 48). The right

FIGURE 53 VARIATION ONE OF PIANO SONATA #3 EXCERPT DELLO JOIO

t\ ·' . I " 41 ,,. A _. " ,. ,,.~ ,,. ~,,. J .I .I ,,. ,,. ,. ,,,, •• L.. J .J ~ ,. '!.L. ,_,J..../_~· l~.1, .• ,," . I . - - .. - .. • 11 I.I • ·- ·n· 'I" f' •••-.- t. ~41:0 ~,. .•- ,.. '"'fte'I - 1-r- I# I.I I r !. - ,_ -· - ,_ - I I P' ·~ i~ I- ~4'- -1::-i Ii" n ~~ '· ,_,, ,.., . !IS llJ21 ,...... i...... ~l• •if I .. l, I ~ ..... _ , _ ~ ~ ...... i...... ~ ... ~ ~ ...... -- - I t> ...-'I . , .... , I I I A ,. "l>" I I

,, ,., ·r .... ~ • - ~ - l ll• -·~ "l"'i I 1• I A - _, ,,., - .. ,.. .. l Tt 11111 .• ,,... n I- - l • .,• ., "' , 1·· '4 I v "-4 l .

FIGURE 54 VARIATION TWO OF PIANO SONATA #3 EXCERPT DELLO JOIO 59 hand is adopted from the corresponding phrase of the theme (Fig. 56); Dello Joio•s ability at rhythmic alteration is shown it Fig. 57 is compared with the second measure ot

FIGURE 55 COMPARISON OF THEME AND VARIATION 'l"-:0 OF PIANO SONATA #3 DELLO JOIO

FIGURE 56 COMPARISON OF THEME AND VARIATION THO OF PIANO SONATA #3 DELLO JOIO 60 Fig. 48. Particularly pronounced is the use of the descend• ing O•A•E•O in both examples. The variation closes on a G major chord.

FIGURE 57 VARIATION TWO OF PIANO SONATA #3 EXCERPT DELLO JOIO Variation three, consisting of double octaves, is certainly the most pianistic and dazzling of this set. The primary interest is the imitation between the right and left hands (Fig. 58) which utilizes the same motifs shown in this example. The placement over the keyboard is wide, and some times the left hand sets the pattern for imitation; gener ally, this variation carries its rhythmic vitality throughout.

Variation ~our returns to a more solemn mood. Delle Joio has set his theme, followed it by a lively variation, a slow one, another fast one, and now another slow. An ostinato is established (Fig. 59) before the melody appears in this variation, very similar to the use made in Variation 61 two. This appears for much of the variation, either as an ostinato or a sequence, sometimes in an upper register, sometimes in a lower. The melody is a retrograde version of the original theme, with an oatinato above 1t, and a G to D reiteration, or pedal, below, although this certainly is not a strict retrograde. The derivation of the retrograde

- ~ I'\ 11.. .. - ,. 'I - . ""' .. , ,. - .. ,6 r .. r -- I I' • -·I . - ... , - .. \. .. - - ., ... , .,. , r , .J =; 41 - - ~ fl-:t,...... '"':./-" P;t ?vn,. ~ llJ !? ... .J• .L ...... l- _, ,. -r I• ., ..., .... I '"' n.., - u I -I " I ,. r A a r --- ~ ...... • "

FIGURE 58 VARIATION THREE OF PIANO SONATA #3 EXCERPT DELLO JOIO

FIGURE 59 VARIATION FOUR OF PIANO SONATA #3 EXCERPT DELLO JOIO 62 is shown in Fig. 60. There is a repeat of this before the dialogue between the right and left hands which has occurred in other variations. The right hand has an improvisatory

VAR r;l ______

FIGURE 60 COMPARISON OF THEME AND VARIATION FOUR OF PIANO SONATA #3 DELLO JOIO quality, while the bass chords of fourths or triads (with major sevenths) add a mildly dissonant accompaniment (Fig. 61). Later, a transposed retrograde of the melody occurs in the left hAnd, beginning on Bb instead of the D shown in Fig. 55. Besides the retrograde version, however fragmentary, of the tune to relnte this variation to the . original, another quality has been the reiteration of G-D, a drone-like device. The return of the retrograde on Bb (Fig. 62) would seem to indicate that the tonal center has shifted to Eb. This is confirmed by the closing of the variation on an Eb minor triad, changing to Eb major in the final measure (Fig. 63). 63 The final variation marks an extreme departure from the theme; the points of integration seem oni_y to be the G to D relationship (drone) and various fragments of tbe melody. Chords of the fourth precede the actual melody, it it can be called such, in an ostinato type and before the G to D relationship is formed. The melodic fragmentation

FIGURE 61 VARIATION FOUR OF PIA.t"W SONATA #3 EXCERPT DELLO JOIO

______., ___ ,_ {JJliJ.

FIGURE 62 VARIATION FOUR OF PIANO SONATA #3 E:1:CERPT DELLO JOIO 64 which appears in measure three of Fig. 64 derives from the first three notes of the theme backwards, G-B-0 transposed to Bb-Ab-F. The following fragments follow a similar rh~thmio pattern, aooompan1ed b~ lusb halt note ohord1 in the lower regions of the keyboard; the spacing is wide. Consistently, the interval between G and D, as seen in the 111 th:trd measure of example 64 is emphasized. bis open fifth, sometimes a Db to Gb, sometimes B to E, serves to unify this variation with the others. There are reminders of the theme, which can be seen in an example of this variation in Fig. 65, which is really the spirit of the theme shown in Fig. 48. The variation ends in a little melodic fragment with a chord spelling D, E, A, C, Ab. The final four measures after the variation closes serve as a codetta to

FIGURl:!: 63 VARIATION FOUR OF PIANO SONATA #3 EXCERPT DELLO JOIO 65 the set, and they are exactly the same as Fig. 48 from the theme, except the final chord is a simple G major this time, thus giving a feeling of completion and resolution to the set.

FIGURE 64 VARIATION FIVE OF PIANO SONATA #3 EXCERPT DELLO JOIO

FIGURE 65 VARIATION FIVE OF PIANO SONATA #3 EXCERPT DELLO JOIO CHAPTER IV

SUMMARY. CONCLUSIONS. AND RECOMMENDATIONS

I• SUMMARY AND CONCLUSIONS

Devices of variation in choral music date from the chants of th~ Middle Ages. but instrumental variations probably date from sixteenth century Spain. notably under the auspices. of the composer Oabezon. The early use of the technique was mainly decorative in the instrumental accom paniments for songs. but the type evolved into idiomatic variations for keyboard under the aegis of the early 17th Century English virginalists. such as Byrd and others listed in the Fitzwilliam collection. Variations. during the Baroque period. were called "airs with doubles," although there were types which emphasized the bass, such as the chaconne and passacaglia. Handel, exemplifying tr;e lAte Baroque, wrote airs and doubles in which each succeeding variation increased the note value activity; the type involved paired variations too. Mozart, representing a later period, followed a scheme in many of his variations which involved melodic decoration in the early variations, followed by those which included changes of mode, tempo, and meter. Beethoven, in his early works, followed the Mozartian scheme, but intensified the use of characteristic 67 alterations in his variations through startling changes of registers, dynamics, textures, and harmonies, as well as either disguising the melody in the inner voices or complete ly changing it. The Romant1oa added little to Beethoven•• ideas, but the twentieth century composers have used any device for variation, largely disregarding integration to the theme through melodic and harmonic elements in favor of the rhythmic components, however fragmentary. Often, the variations are too abstruse to be related to the theme; sometimes, the composer is the only one who truly knows.the point of integration.

II. RECOMMENDATIONS

The conclusions above are based on whnt established authorities on musical form believe as well as what the analysis of the works in this study have revealed. This study, however, is only a cursory view of what can be done with the analysis of theme and variations, both structurally and historically. The paucity of books and theses in this field would seem to indicate the form has been somewhat ignored. Although this study hardly allows for generaliza tion beyond the works analyzed, similar studies would certainly confirm or refute the ideas suggested by theorists such as Leichtentritt, Macpherson, and Tovey. The examin ation of other works of more composers in the same periods 68 would also show the line of departure some composers have chosen. In addition, this study has specifically suggested the following que1t1on11 (l) Is the variation technique exhausted? The trend has been from melodic and harmonic variations, through characteris tip types, to the twentieth centUI'y tyi:e of free development. Is there any element of music left for varia tion, or is the form exhausted and dated? Is it a period form such as the sonata-allegro form? Does improvisation in American jazz, with its concomitant interest in Baroque improvisation, indicate a revival of the form? (2) At what point does one's ear fail to perceive something as a variation of a musical theme? Does the form necessitate an obvious variation or more obscure ones? Should a point of integration with the theme be recognizable aurally, or should the variation remain en enigma? ~hiob type is more satisfying esthetically? (3) Can the form be congruous with electronic music and twelve-tone technique which negate the principle of repetition and attempt to obviate any semblance of a return? The following historical points could and should warrant closer scrutiny: (4) Where did Mozart's scheme for variations derive? Was it his idea, a plagarized form, or a culmination of the 69 work of many? (5) What is the parallel development of the sonata allegro form and the theme and variations form? (6) What has been Beethoven's use of the for.m. 1n the three established periods of writing within his life'l What was his turning point from the ornamental to characteristic variations 'l

(7) What are the precise links of the Romantic schools of variation to Beethoven? What is the link between the nineteenth and twentieth centuries? (8) Finally, what have the most profound contempo raries, Stravinsky, Hindemith, and Bartok, thought of and done with the form?

CWSC Library, Ellensburg, Waslllt BIBLIOGRAPHY

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